Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Croatia and from Philadelphia.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1960 to 1971.
I'm losing my edge.
To all the kids in Lyon and London.
I'm losing my edge to the art-school Glasgow kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1971 at the first Big Star practice in a loft in Memphis.
I was working on the güiro sounds with much patience.
I was there when David Bowie started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing The Velvet Underground to the crunk kids.
I played it at the Hacienda.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by Sarah Menescal. All the underground hits.
All The Five Americans tracks. I heard you have a vinyl of every Notorious Big And Bone Thugs record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a 808 and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Deutsch Amerikanische Freundschaft record.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Interpol,
Sister Nancy,
Little Man,
Minutemen,
The Selecter,
John Lydon,
Colin Newman,
Section 25,
Louis and Bebe Barron,
Deakin,
Roy Ayers Ubiquity,
Bob Dylan,
Andrew Hill,
Rekid,
Sad Lovers and Giants,
8 Eyed Spy,
Rapeman,
Lower 48,
MC5,
DNA,
The Vogues,
Sexual Harrassment,
Icehouse,
DJ Sneak,
Fatback Band,
Roxy Music,
U.S. Maple,
Kerri Chandler,
Piero Umiliani,
The Associates,
World's Most,
Don Cherry,
Depeche Mode,
James White and The Blacks,
Altered Images,
the Fania All-Stars,
the Soft Cell,
Gong,
Gerry Rafferty,
Niagra,
Letta Mbulu,
Ash Ra Tempel,
Ultravox,
Kas Product,
The Fire Engines,
The Grass Roots,
The Standells,
Johnny Clarke,
Gian Franco Pienzio,
Lucky Dragons,
Ludus,
Q and Not U,
Main Source,
Robert Wyatt,
The Angels of Light,
The United States of America,
Notorious BIG live in Amsterdam,
Loose Ends,
Roxette,
Yaz,
The Alarm Clocks,
Jacques Brel,
Mantronix, Mantronix, Mantronix, Mantronix.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.